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Off-Screen: Sex and Implicit Significtion in Film

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Off-Screen: Sex and Implicit Significtion in Film Off-screen: Sex and Implicit Significtion in Film Stojnić, Betty Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Rijeka, Faculty of Humanities and Social Sciences / Sveučilište u Rijeci, Filozofski fakultet u Rijeci Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:186:709422 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: Repository of the University of Rijeka, Faculty of Humanities and Social Sciences - FHSSRI Repository Betty Stojnić Department of Cultural Studies Academic year 2017/2018 The Faculty of Humanities and Social Sciences in Rijeka University of Rijeka Mentor: Boris Ružić, PhD Off-Screen: Sex and Implicit Signification in Film Bachelor’s Thesis September 19th 2018, Rijeka ABSTRACT This thesis aims to explore the phenomenon of implied sex in cinema from the methodological standpoint of film semiotics. The representation of sex in film is interpreted through the prism of signification and signifying practices. Special emphasis is placed on signs which require the viewer’s active participation in the extraction of their meaning. Specifically, what is analysed are instances of the depiction of sex via hints within the mise-en-scène, suggestive editing, or expository screenwriting. The paper primarily consists of textual analyses of the following films (listed here in chronological order according to release date): Ecstasy (1933, dir. Gustav Macahtý), A Streetcar Named Desire (1951, dir. Elia Kazan), North by Northwest (1959, dir. Alfred Hitchcock), Persona (1966, dir. Ingmar Bergman), Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975, dir. Chantal Akerman), Eraserhead (1977, dir. David Lynch), La pianiste (2001, dir. Michael Haneke). Providing a counterexample, the paper also touches upon the problematic of sexual explicitness, as demonstrated by Nymphomaniac (2013, dir. Lars von Trier) and Love (2015, dir. Gaspar Noé). The implication/explication dichotomy is put into question throughout the paper, with the aim of putting forward a potentially more nuanced analytical toolkit for the interpretation of sex scenes in cinema. It is, however, demonstrated that a notion of “explicitness” is nevertheless present in the societal and institutional response to films which thematise sexuality. It is precisely this response which points to the broader issue of sex and social control (examined from the perspectives of social theorists Wilhelm Reich and Michel Foucault). It is hoped this study will provide an informed overview of the relationship between sex and signification within film, perhaps offering possibilities for further study. Keywords: semiology, cinema, implicit signification, eroticism, film semiotics, sexuality TABLE OF CONTENTS INTRODUCTION 1 OFF-SCREEN: SEX AND IMPLICIT SIGNIFICATION IN FILM 2 Methodological Concerns of the Explicit/Implicit Dichotomy 2 Early Examples of Implicit Sexuality and Its Reception: Ecstasy 7 Eroticism and Implication through Screenwriting: Persona 10 Minimalist Implication and Anti-Eroticism: Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles 12 Symbolism and Fantasy: Eraserhead 16 Explication: Nymphomaniac and Love 19 CONCLUSION 22 BIBLIOGRAPHY 23 INTRODUCTION In the final scene of North by Northwest (1959, dir. Alfred Hitchcock), the protagonist Roger Thornhill (played by Cary Grant) helps his lover Eve (Eva Marie Saint) climb on top of the upper berth of a train. They embrace and kiss, sinking into the bunk. The subsequent shot, accompanied by a swell in the soundtrack, famously features a train entering a tunnel. In an interview with François Truffaut (published in 1966 with the title Hitchock/Truffaut), Hitchock refers to the ending shot as one of the most “impudent [he’d] ever made” and labels the train as a “phallic symbol” (Truffaut 1985: p. 150). Clearly no stranger to psychoanalytic notions of the repressed, Hitchcock deliberately introduces an evocative sexual allusion into a film which otherwise repeatedly approaches the ostensibly self-evident physical conclusion of the proximity of two attractive heterosexual characters, but never seems to grant the viewer the voyeuristic pleasure of actually seeing it happen. Instead, what Hitchcock introduces is, to borrow semiotic terminology, an implicit sign – a cinematic nudge-and-wink. If one is to imagine the cinematic sign in relation to verbal language, one distinction that may be made is that the cinematic sign, if we are to follow Metzian semiotics, is not fully arbitrary, but motivated (Stam, Burgoyne and Flitterman-Lewis 2005: p. 36). The implicit sign in a film is a heavily coded one, the signifier conspicuously differentiating itself from the signified, yet nevertheless hinting at the existence of a separate, out-of-field world, away from the viewer’s gaze, but still reachable with only a slightly more inspired use of the mind’s eye. This is not a pipe, and that is not a train. Not only is it not a train, but it isn’t even the representation of just a train. That-which-is-not-just-a-train exists in the off-screen space, a distinct realm of meaning-formation. The aim of this thesis is, thus, to explore this space in the context of the filmic sexual imaginary. Moreover, I hope to provide a multifaceted textual (and contextual) analysis of several different case studies in order to examine the unique status of sex within cinema and representation in general. Though the primary focus may be on cine- semiology and reception theory, I also hope to pose questions regarding the filmmaking techniques involved in suggestion and metaphor, as well as the societal implications of a coy, yet constantly revisited relationship between sex, sexuality and audio-visual media. 1 OFF-SCREEN: SEX AND IMPLICIT SIGNIFICATION IN FILM Methodological Concerns of the Explicit/Implicit Dichotomy When Hedy Lamarr's character (the symbolically named Eva) in Gustav Machatý’s Ecstasy (1933) experiences an orgasm, the entirety of the sexual contact occurs outside of the viewer’s direct gaze. However, Adam’s (Aribert Mog) position in relation to Eva’s body (his head located beneath her waist) makes sexual association appear almost natural, as what is implied still leaves very few options for a reasonable conclusion as to what is happening between the characters. In this respect, I wish to postulate and hopefully exhibit, through exemplification, the gradation in implicit signification from the seemingly obvious to the mostly metaphoric. In other words, the main question that needs addressing is what type of cultural framework is at play when sex is encoded into the cinematic sign and later decoded by the viewer. Furthermore, what roles do these meaning structures play in making a sexual act appear represented (as well as read) in a more or less straightforward way? One analytical tool I will be consulting in regards to the possibilities and limitations of viewer reception is Stuart Hall’s encoding/decoding model, as laid out in his text ‘Encoding, Decoding’ (1993). Following this model, neither the productive nor receptive ends of a communicative event (in this case, the act of watching a film) can exist independently of the cultural (political, social, ideological, economic) conditions which constitute meaning-formation. For the remainder of this thesis, “meaning-formation” will refer primarily to the decoding process, as the implicit sign not only requires the viewer to read and interpret it, but to actively construct it, as will be demonstrated by individual case studies later on. Applying this model to the implication of sex in a visual medium such as film may unearth a broad variety of ways and degrees to which sex can be enshrouded, yet still clearly suggested by certain techniques which can, once again, perhaps be best described as “more or less straightforward”. An analysis of several sex scenes in Haneke’s La pianiste (2001) might provide more clarification. In Michael Haneke’s Cinema (2009), Catherine Wheatley repeatedly refers to the off-screen nature of the sexual acts represented in the film. She labels these acts as implicit, especially in relation to the explicit nature of the hard-core pornography viewed by Erika (Isabelle Huppert) in a porn-viewing booth: In the course of the film, the spectator witnesses three narrative instances of intercourse, but in each case the sexual act either occurs in the off-screen space or 2 is obscured within the frame. The pornography booth scene thus also serves to remind us what is implicit in Haneke’s film. These images act almost as visual aids, to be recalled whenever the spectator is prompted to imagine what it is that lies outside the cinematic frame. (Wheatley 2009: p. 134) However, the sex scenes in La pianiste all occur, on the narrative level, in front of the viewer’s eyes. What makes these scenes supposedly non-explicit is the obfuscation of direct genital contact. When Erika takes Walter’s (Benoît Magimel) penis in her hand, the borders of the frame do not extend beyond her wrist. When Walter rapes Erika, the viewer only has access to both of their facial expressions. The sexual acts are, however, directly acknowledged by the characters in terms of dialogue, the scenes play out in “real time” (they are not cut in such a way as to speed the action up), and the bodily motions and reactions involved are presented in a naturalist fashion, supposedly “true to reality”1. Wheatley’s analysis of La pianiste brings to light one very particular definition of what makes a cinematic sign implicit rather than explicit: according to this view, a sign is implicit as long it visually obscures a key aspect of the sexual contact (in this case, genital stimulation). As with all signification, the viewer must rely on their own, internal meaning structure to complete the sign (at least insofar as the implication can be translated and constructed into a readable communicative moment). It would be difficult to demarcate a specific point where a filmic sign (so reliant on and, indeed, limited by its audio- visual form) transitions from an implicit to an explicit one.
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